The Art Of Letters Part 16

There, better than in a thousand generalizations, you see what the artistic conscience is. In a world in which authors, like solicitors, must live, it is, of course, seldom possible to take pains in this measure.

Dostoevsky used to groan that his poverty left him no time or chance to write his best as Tolstoy and Turgenev could write theirs. But he at least laboured all that he could. Novel-writing has since his time become as painless as dentistry, and the result may be seen in a host of books that, while affecting to be fine literature, have no price except as merchandise.

XXII.--THE THEORY OF POETRY

Matthew Arnold once advised people who wanted to know what was good poetry not to trouble themselves with definitions of poetry, but to learn by heart pa.s.sages, or even single lines, from the works of the great poets, and to apply these as touchstones. Certainly a book like Mr. Cowl's _Theory of Poetry in England_, which aims at giving us a representative selection of the theoretical things which were said in England about poetry between the time of Elizabeth and the time of Victoria, makes one wonder at the barrenness of men's thoughts about so fruitful a world as that of the poets. Mr. Cowl's book is not intended to be read as an anthology of fine things. Its value is not that of a book of golden thoughts. It is an ordered selection of doc.u.ments chosen, not for their beauty, but simply for their use as milestones in the progress of English poetic theory. It is a work, not of literature, but of literary history; and students of literary history are under a deep debt of grat.i.tude to the author for bringing together and arranging the doc.u.ments of the subject in so convenient and lucid a form. The arrangement is under subjects, and chronological. There are forty-one pages on the theory of poetic creation, beginning with George Gascoigne and ending with Matthew Arnold. These are followed by a few pages of representative pa.s.sages about poetry as an imitative art, the first of the authors quoted being Roger Ascham and the last F.W.H. Myers. The hook is divided into twelve sections of this kind, some of which have a tendency to overlap. Thus, in addition to the section on poetry as an imitative art, we have a section on imitation of nature, another on external nature, and another on imitation. Imitation, in the last of these, it is true, means for the most part imitation of the ancients, as in the sentence in which Thomas Rymer urged the seventeenth-century dramatists to imitate Attic tragedy even to the point of introducing the chorus.

Mr. Cowl's book is interesting, however, less on account of the sections and subsections into which it is divided than because of the manner in which it enables us to follow the flight of English poetry from the romanticism of the Elizabethans to the neo-cla.s.sicism of the eighteenth century, and from this on to the romanticism of Wordsworth and Coleridge, and from this to a newer neo-cla.s.sicism whose prophet was Matthew Arnold.

There is not much of poetry captured in these cold-blooded criticisms, but still the shadow of the poetry of his time occasionally falls on the critic's formulae and aphorisms. How excellently Sir Philip Sidney expresses the truth that the poet does not imitate the world, but creates a world, in his observation that Nature's world "is brazen, the poets only deliver a golden!" This, however, is a fine saying rather than an interpretation. It has no importance as a contribution to the theory of poetry to compare with a pa.s.sage like that so often quoted from Wordsworth's preface to _Lyrical Ballads_:

I have said that poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotions recollected in tranquillity; the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind.

As a theory of poetic creation this may not apply universally. But what a flood of light it throws on the creative genius of Wordsworth himself! How rich in psychological insight it is, for instance, compared with Dryden's comparable reference to the part played by the memory in poetry:

The composition of all poems is, or ought to be, of wit; and wit in the poet ... is no other than the faculty of imagination in the writer, which, like a nimble spaniel, beats over and ranges through the field of memory, till it springs the quarry it hunted after.

As a matter of fact, few of these generalizations carry one far. Ben Jonson revealed more of the secret of poetry when he said simply: "It utters somewhat above a mortal mouth." So did Edgar Allan Poe, when he said: "It is no mere appreciation of the beauty before us, but a wild effort to reach the beauty above." Coleridge, again, initiates us into the secrets of the poetic imagination when he speaks of it as something which--

combining many circ.u.mstances into one moment of consciousness, tends to produce that ultimate end of all human thought and human feeling, unity, and thereby the reduction of the spirit to its principle and fountain, which is alone truly one.

On the other hand, the most dreadful thing that was ever written about poetry was also written by Coleridge, and is repeated in Mr. Cowl's book:

How excellently the German _Einbildungskraft_ expresses this prime and loftiest faculty, the power of coadunation, the faculty that forms the many into one--_Ineins-bildung_! Eisenoplasy, or esenoplastic power, is contradistinguished from fantasy, either catoptric or metoptric--repeating simply, or by transposition--and, again, involuntary [fantasy] as in dreams, or by an act of the will.

The meaning is simple enough: it is much the same as that of the preceding paragraph. But was there ever a pa.s.sage written suggesting more forcibly how much easier it is to explain poetry by writing it than by writing about it?

Mr. Cowl's book makes it clear that fiercely as the critics may dispute about poetry, they are practically all agreed on at least one point--that it is an imitation. The schools have differed less over the question whether it is an imitation than over the question how, in a discussion on the nature of poetry, the word "imitation" must be qualified. Obviously, the poet must imitate something--either what he sees in nature, or what he sees in memory, or what he sees in other poets, or what he sees in his soul, or it may me, all together. There arise schools every now and then--cla.s.sicists, Parna.s.sians, realists, and so forth--who believe in imitation, but will not allow it to be a free imitation of things seen in the imaginative world. In the result their work is no true imitation of life. Pope's poetry is not as true an imitation of life as Shakespeare's.

Nor is Zola's, for all its fidelity, as close an imitation of life as Victor Hugo's. Poetry, or prose either, without romance, without liberation, can never rise above the second order. The poet must be faithful not only to his subject, but to his soul. Poe defined art as the "reproduction of what the senses perceive in nature through the veil of the soul," and this, though like most definitions of art, incomplete, is true in so far as it reminds us that art at its greatest is the statement of a personal and ideal vision. That is why the reverence of rules in the arts is so dangerous. It puts the standards of poetry not in the hands of the poet, but in the hands of the grammarians. It is a Procrustes' bed which mutilates the poet's vision. Luckily, England has always been a rather lawless country, and we find even Pope insisting that "to judge ...

of Shakespeare by Aristotle's rules is like trying a man by the laws of one country who acted under those of another." Dennis might cry: "Poetry is either an art or whimsy and fanaticism.... The great design of the arts is to restore the decays that happened to human nature by the fall, by restoring order." But, on the whole, the English poets and critics have realized the truth that it is not an order imposed from without, but an order imposed from within at which the poet must aim. He aims at bringing order into chaos, but that does not mean that he aims at bringing Aristotle into chaos. He is, in a sense, "beyond good and evil," so far as the orthodoxies of form are concerned. Coleridge put the matter in a nutsh.e.l.l when he remarked that the mistake of the formal critics who condemned Shakespeare as "a sort of African nature, rich in beautiful monsters," lay "in the confounding mechanical regularity with organic form." And he states the whole duty of poets as regards form in another sentence in the same lecture:

As it must not, so genius cannot, be lawless; for it is even this that const.i.tutes its genius--the power of acting creatively under laws of its own origination.

Mr. Cowl enables us to follow, as in no other book we know, the endless quarrel between romance and the rules, between the spirit and the letter, among the English authorities on poetry. It is a quarrel which will obviously never be finally settled in any country. The mechanical theory is a necessary reaction against romance that has decayed into windiness, extravagance, and incoherence. It brings the poets back to literature again. The romantic theory, on the other hand, is necessary as a reminder that the poet must offer to the world, not a formula, but a vision. It brings the poets back to nature again. No one but a Dennis will hesitate an instant in deciding which of the theories is the more importantly and eternally true one.

XXIII.--THE CRITIC AS DESTROYER

It has been said often enough that all good criticism is praise. Pater boldly called one of his volumes of critical essays _Appreciations_. There are, of course, not a few brilliant instances of hostility in criticism.

The best-known of these in English is Macaulay's essay on Robert Montgomery. In recent years we have witnessed the much more significant a.s.sault by Tolstoy upon almost the whole army of the authors of the civilized world from aeschylus down to Mallarme. _What is Art?_ was unquestionably the most remarkable piece of sustained hostile criticism that was ever written. At the same time, it was less a denunciation of individual authors than an attack on the general tendencies of the literary art. Tolstoy quarrelled with Shakespeare not so much for being Shakespeare as for failing to write like the authors of the Gospels.

Tolstoy would have made every book a Bible. He raged against men of letters because with them literature was a means not to more abundant life but to more abundant luxury. Like so many inexorable moralists, he was intolerant of all literature that did not serve as a sort of example of his own moral and social theories. That is why he was not a great critic, though he was immeasurably greater than a great critic. One would not turn to him for the perfect appreciation even of one of the authors he spared, like Hugo or d.i.c.kens. The good critic must in some way begin by accepting literature as it is, just as the good lyric poet must begin by accepting life as it is. He may be as full of revolutionary and reforming theories as he likes, but he must not allow any of these to come like a cloud between him and the sun, moon and stars of literature. The man who disparages the beauty of flowers and birds and love and laughter and courage will never be counted among the lyric poets; and the man who questions the beauty of the inhabited world the imaginative writers have made--a world as unreasonable in its loveliness as the world of nature--is not in the way of becoming a critic of literature.

Another argument which tells in favour of the theory that the best criticism is praise is the fact that almost all the memorable examples of critical folly have been denunciations. One remembers that Carlyle dismissed Herbert Spencer as a "never-ending a.s.s." One remembers that Byron thought nothing of Keats--"Jack Ketch," as he called him. One remembers that the critics d.a.m.ned Wagner's operas as a new form of sin.

One remembers that Ruskin denounced one of Whistler's nocturnes as a pot of paint flung in the face of the British public. In the world of science we have a thousand similar examples of new genius being hailed by the critics as folly and charlatanry. Only the other day a biographer of Lord Lister was reminding us how, at the British a.s.sociation in 1869, Lister's antiseptic treatment was attacked as a "return to the dark ages of surgery," the "carbolic mania," and "a professional criminality." The history of science, art, music and literature is strewn with the wrecks of such hostile criticisms. It is an appalling spectacle for anyone interested in a.s.serting the intelligence of the human race. So appalling is it, indeed, that most of us nowadays labour under such a terror of accidentally condemning something good that we have not the courage to condemn anything at all. We think of the way in which Browning was once taunted for his obscurity, and we cannot find it in our hearts to censure Mr. Doughty. We recall the ignorant attacks on Manet and Monet, and we will not risk an onslaught on the follies of Pica.s.so and the worse-than-Pica.s.sos of contemporary art. We grow a monstrous and unhealthy plant of tolerance in our souls, and its branches drop colourless good words on the just and on the unjust--on everybody, indeed, except Miss Marie Corelli, Mr. Hall Caine, and a few others whom we know to be second-rate because they have such big circulations. This is really a disastrous state of affairs for literature and the other arts. If criticism is, generally speaking, praise, it is, more definitely, praise of the right things. Praise for the sake of praise is as great an evil as blame for the sake of blame. Indiscriminate praise, in so far as it is the result of distrust of one's own judgment or of laziness or of insincerity, is one of the deadly sins in criticism. It is also one of the deadly dull sins. Its effect is to make criticism ever more unreadable, and in the end even the publishers, who love silly sentences to quote about their bad books, will open their eyes to the futility of it. They will realize that, when once criticism has become unreal and unreadable, people will no more be bothered with it than they will with drinking lukewarm water. I mention the publisher in especial, because there is no doubt that it is with the idea of putting the publishers in a good, open-handed humour that so many papers and reviews have turned criticism into a kind of stagnant pond.

Publishers, fortunately, are coming more and more to see that this kind of criticism is of no use to them. Reviews in such-and-such a paper, they will tell you, do not sell books. And the papers to which they refer in such cases are always papers in which praise is disgustingly served out to everybody, like spoonfuls of treacle-and-brimstone to a mob of schoolchildren.

Criticism, then, is praise, but it is praise of literature. There is all the difference in the world between that and the praise of what pretends to be literature. True criticism is a search for beauty and truth and an announcement of them. It does not care twopence whether the method of their revelation is new or old, academic or futuristic. It only asks that the revelation shall be genuine. It is concerned with form, because beauty and truth demand perfect expression. But it is a mere heresy in aesthetics to say that perfect expression is the whole of art that matters. It is the spirit that breaks through the form that is the main interest of criticism. Form, we know, has a permanence of its own: so much so that it has again and again been worshipped by the idolators of art as being in itself more enduring than the thing which it embodies. Robert Burns, by his genius for perfect statement, can give immortality to the joys of being drunk with whiskey as the average hymn-writer cannot give immortality to the joys of being drunk with the love of G.o.d. Style, then, does seem actually to be a form of life. The critic may not ignore it any more than he may exaggerate its place in the arts. As a matter of fact, he could not ignore it if he would, for style and spirit have a way of corresponding to one another like health and sunlight.

It is to combat the stylelessness of many contemporary writers that the destructive kind of criticism is just now most necessary. For, dangerous as the heresy of style was forty or fifty years ago, the newer heresy of sylelessness is more dangerous still. It has become the custom even of men who write well to be as ashamed of their style as a schoolboy is of being caught in an obvious piece of goodness. They keep silent about it as though it were a kind of powdering or painting. They do not realize that it is merely a form of ordinary truthfulness--the truthfulness of the word about the thought. They forget that one has no more right to misuse words than to beat one's wife. Someone has said that in the last a.n.a.lysis style is a moral quality. It is a sincerity, a refusal to bow the knee to the superficial, a pa.s.sion for justice in language. Stylelessness, where it is not, like colour-blindness, an accident of nature, is for the most part merely an echo of the commercial man's world of hustle. It is like the rushing to and fro of motor-buses which save minutes with great loss of life. It is like the swift making of furniture with unseasoned wood. It is a kind of introduction of the quick-lunch system into literature. One cannot altogether acquit Mr. Masefield of a hasty stylelessness in some of those long poems which the world has been raving about in the last year or two. His line in _The Everlasting Mercy:_

And yet men ask, "Are barmaids chaste?"

is a masterpiece of inexpertness. And the couplet:

The Bosun turned: "I'll give you a thick ear!

Do it? I didn't. Get to h.e.l.l from here!"

is like a Sunday-school teacher's lame attempt to repeat a blasphemous story. Mr. Masefield, on the other hand, is, we always feel, wrestling with language. If he writes in a hurry, it is not because he is indifferent, but because his soul is full of something that he is eager to express. He does not gabble; he is, as it were, a man stammering out a vision. So vastly greater are his virtues than his faults as a poet, indeed, that the latter would only be worth the briefest mention if it were not for the danger of their infecting other writers who envy him his method but do not possess his conscience. One cannot contemplate with equanimity the prospect of a Masefield school of poetry with all Mr.

Masefield's inept.i.tudes and none of his genius.

Criticism, however, it is to be feared, is a fight for a lost cause if it essays to prevent the founding of schools upon the faults of good writers.

Criticism will never kill the copyist. Nothing but the end of the world can do that. Still, whatever the practical results of his work may be, it is the function of the critic to keep the standard of writing high--to insist that the authors shall write well, even if his own sentences are like torn strips of newspaper for commonness. He is the enemy of sloppiness in others--especially of that airy sloppiness which so often nowadays runs to four or five hundred pages in a novel. It was amazing to find with what airiness a promising writer like Mr. Compton Mackenzie gave us some years ago _Sinister Street_, a novel containing thousands of sentences that only seemed to be there because he had not thought it worth his while to leave them out, and thousands of others that seemed to be mere hurried attempts to express realities upon which he was unable to spend more time. Here is a writer who began literature with a sense of words, and who is declining into a mere sense of wordiness. It is simply another instance of the ridiculous rush of writing that is going on all about us--a rush to satisfy a public which demands quant.i.ty rather than quality in its books. I do not say that Mr. Mackenzie consciously wrote down to the public, but the atmosphere obviously affected him. Otherwise he would hardly have let his book go out into the world till he had rewritten it--till he had separated his necessary from his unnecessary sentences and given his conversations the tones of reality.

There is no need, however, for criticism to lash out indiscriminately at all hurried writing. There are a mult.i.tude of books turned out every year which make no claim to be literature--the "thrillers," for example, of Mr.

Phillips Oppenheim and of that capable firm of feuilletonists, Coralie Stanton and Heath Hosken. I do not think literature stands to gain anything, even though all the critics in Europe were suddenly to a.s.sail this kind of writing. It is a frankly commercial affair, and we have no more right to demand style from those who live by it than from the authors of the weather reports in the newspapers. Often, one notices, when the golden youth, fresh from college and the reading of Sh.e.l.ley and Anatole France, commences literary critic, he begins d.a.m.ning the sensational novelists as though it were their business to write like Jane Austen. This is a mere waste of literary standards, which need only be applied to what pretends to be literature. That is why one is often impelled to attack really excellent writers, like Sir Arthur Quiller-Couch or Mr. Galsworthy, as one would never dream of attacking, say, Mr. William Le Queux. To attack Sir Arthur Quiller-Couch is, indeed, a form of appreciation, for the only just criticism that can be levelled against him is that his later work does not seem to be written with that singleness of imagination and that deliberate rightness of phrase which made _Noughts and Crosses_ and _The Ship of Stars_ books to be kept beyond the end of the year. If one attacks Mr. Galsworthy, again, it is usually because one admires his best work so whole-heartedly that one is not willing to accept from him anything but the best. One cannot, however, be content to see the author of _The Man of Property_ dropping the plat.i.tudes and the false fancifulness of _The Inn of Tranquillity_. It is the false pretences in literature which criticism must seek to destroy. Recognizing Mr.

Galsworthy's genius for the realistic representation of men and women, it must not be blinded by that genius to the essential second-rateness and sentimentality of much of his presentation of ideas. He is a man of genius in the black humility with which he confesses strength and weakness through the figures of men and women. He achieves too much of a pulpit complacency--therefore of condescendingness--therefore of falseness to the deep intimacy of good literature--when he begins to moralize about time and the universe. One finds the same complacency, the same condescendingness, in a far higher degree in the essays of Mr. A.C.

Benson. Mr. Benson, I imagine, began writing with a considerable literary gift, but his later work seems to me to have little in it but a good man's pretentiousness. It has the air of going profoundly into the secrecies of love and joy and truth, but it contains hardly a sentence that would waken a ruffle on the surface of the shallowest spirit. It is not of the literature that awakens, indeed, but of the literature that puts to sleep, and that is always a danger unless it is properly labelled and recognizable. Sleeping-draughts may be useful to help a sick man through a bad night, but one does not recommend them as a cure for ordinary healthy thirst. Nor will Mr. Benson escape just criticism on the score of his manner of writing. He is an absolute master of the otiose word, the superfluous sentence. He pours out pages as easily as a bird sings, but, alas! it is a clockwork bird in this instance. He lacks the true innocent absorption in his task which makes happy writing and happy reading.

It is not always the authors, on the other hand, whose pretences it is the work of criticism to destroy. It is frequently the wild claims of the partisans of an author that must be put to the test. This sort of pretentiousness often happens during "booms," when some author is talked of as though he were the only man who had ever written well. How many of these booms have we had in recent years--booms of Wilde, of Synge, of Donne, of Dostoevsky! On the whole, no doubt, they do more good than harm.

They create a vivid enthusiasm for literature that affects many people who might not otherwise know that to read a fine book is as exciting an experience as going to a horse-race. Hundreds of people would not have the courage to sit down to read a book like _The Brothers Karamazov_ unless they were compelled to do so as a matter of fashionable duty. On the other hand, booms more than anything else make for false estimates. It seems impossible with many people to praise Dostoevsky without saying that he is greater than Tolstoy or Turgenev. Oscar Wilde enthusiasts, again, invite us to rejoice, not only over that pearl of triviality, _The Importance of Being Earnest_, but over a blaze of paste jewelry like _Salome_.

Similarly, Donne worshippers are not content to ask us to praise Donne's gifts of fancy, a.n.a.lysis and idiosyncratic music. They insist that we shall also admit that he knew the human heart better than Shakespeare. It may be all we like sheep have gone astray in this kind of literary riot.

And so long as the exaggeration of a good writer's genius is an honest personal affair, one resents it no more than one resents the large nose or the bandy legs of a friend. It is when men begin to exaggerate in herds--to repeat like a lesson learned the enthusiasm of others--that the boom becomes offensive. It is as if men who had not large noses were to begin to pretend that they had, or as if men whose legs were not bandy were to pretend that they were, for fashion's sake. Insincerity is the one entirely hideous artistic sin--whether in the creation or in the appreciation of art. The man who enjoys reading _The Family Herald_, and admits it, is nearer a true artistic sense than the man who is bored by Henry James and denies it: though, perhaps, hypocrisy is a kind of homage paid to art as well as to virtue. Still, the affectation of literary rapture offends like every other affectation. It was the chorus of imitative rapture over Synge a few years ago that helped most to bring about a speedy reaction against him. Synge was undoubtedly a man of fine genius--the genius of gloomy comedy and ironic tragedy. His mind delved for strangenesses in speech and imagination among people whom the new age had hardly touched, and his discoveries were sufficiently magnificent to make the eyes of any lover of language brighten. His work showed less of the mastery of life, however, than of the mastery of a theme. It was a curious by-world of literature, a little literature of death's-heads, and, therefore, no more to be mentioned with the work of the greatest than the stories of Villiers de l'Isle-Adam. Unfortunately, some disturbances in Dublin at the first production of _The Playboy_ turned the play into a battle-cry, and the artists, headed by Mr. Yeats, used Synge to belabour the Philistinism of the mob. In the excitement of the fight they were soon talking about Synge as though Dublin had rejected a Shakespeare. Mr. Yeats even used the word "Homeric" about him--surely the most inappropriate word it would be possible to imagine. Before long Mr. Yeats's enthusiasm had spread to England, where people who ignored the real magic of Synge's work, as it is to be found in _Riders to the Sea_, _In the Shadow of the Glen_, and _The Well of the Saints_, went into ecstasies over the inferior _Playboy_. Such a boom meant not the appreciation of Synge but a glorification of his more negligible work. It was almost as if we were to boom Swinburne on the score of his later political poetry. Criticism makes for the destruction of such booms. I do not mean that the critic has not the right to fling about superlatives like any other man. Criticism, in one aspect, is the art of flinging about superlatives finely. But they must be personal superlatives, not boom superlatives. Even when they are showered on an author who is the just victim of a boom--and, on a reasonable estimate, at least fifty per cent of the booms have some justification--they are as unbeautiful as rotten apples unless they have this personal kind of honesty.

It may be thought that an att.i.tude of criticism like this may easily sink into Pharisaism--a sort of "superior-person" aloofness from other people.

And no doubt the critic, like other people, needs to beat his breast and pray, "G.o.d be merciful to me, a--critic." On the whole, however, the critic is far less of a professional faultfinder than is sometimes imagined. He is first of all a virtue-finder, a singer of praise. He is not concerned with getting rid of the dross except in so far as it hides the gold. In other words, the destructive side of criticism is purely a subsidiary affair. None of the best critics have been men of destructive minds. They are like gardeners whose business is more with the flowers than with the weeds. If I may change the metaphor, the whole truth about criticism is contained in the Eastern proverb which declares that "Love is the net of Truth." It is as a lover that the critic, like the lyric poet and the mystic, will be most excellently symbolized.

XXIV.--BOOK REVIEWING

I notice that in Mr. Seekers' _Art and Craft of Letters_ series no volume on book-reviewing has yet been announced. A volume on criticism has been published, it is true, but book-reviewing is something different from criticism. It swings somewhere between criticism on the one hand and reporting on the other. When Mr. Arthur Bourchier a few years ago, in the course of a dispute about Mr. Walkley's criticisms, spoke of the dramatic critic as a dramatic reporter, he did a very insolent thing. But there was a certain reasonableness in his phrase. The critic on the Press is a news-gatherer as surely as the man who is sent to describe a public meeting or a strike. Whether he is asked to write a report on a play of Mr. Shaw's or an exhibition of etchings by Mr. Bone or a volume of short stories by Mr. Conrad or a speech by Mr. Asquith or a strike on the Clyde, his function is the same. It is primarily to give an account, a description, of what he has seen or heard or read. This may seem to many people--especially to critics--a degrading conception of a book-reviewer's work. But it is quite the contrary. A great deal of book-reviewing at the present time is dead matter. Book-reviews ought at least to be alive as news.

At present everybody is ready to write book-reviews. This is because nearly everybody believes that they are the easiest kind of thing to write. People who would shrink from offering to write poems or leading articles or descriptive sketches of football matches, have an idea that reviewing books is something with the capacity for which every man is born, as he is born with the capacity for talking prose. They think it is as easy as having opinions. It is simply making a few remarks at the end of a couple of hours spent with a book in an armchair. Many men and women--novelists, barristers, professors and others--review books in their spare time, as they look on this as work they can do when their brains are too tired to do anything which is of genuine importance. A great deal of book-reviewing is done contemptuously, as though to review books well were not as difficult as to do anything else well. This is perhaps due in some measure to the fact that, for the amount of hard work it involves, book-reviewing is one of the worst-paid branches of journalism. The hero of Mr. Beresford's new novel, _The Invisible Event_, makes an income of 250 a year as an outside reviewer, and it is by no means every outside reviewer who makes as much as that from reviewing alone. It is not that there is not an immense public which reads book-reviews. Mr. T.P. O'Connor showed an admirable journalistic instinct when twenty years or so ago he filled the front page of the _Weekly Sun_ with a long book-review. The sale of the _Times Literary Supplement_, since it became a separate publication, is evidence that, for good or bad, many thousands of readers have acquired the habit of reading criticism of current literature.

But I do not think that the mediocre quality of most book-reviewing is due to low payment. It is a result, I believe, of a wrong conception of what a book-review should be. My own opinion is that a review should be, from one point of view, a portrait of a book. It should present the book instead of merely presenting remarks about the book. In reviewing, portraiture is more important than opinion. One has to get the reflexion of the book, and not a mere comment on it, down on paper. Obviously, one must not press this theory of portraiture too far. It is useful chiefly as a protest against the curse of comment. Many clever writers, when they come to write book-reviews, instead of portraying the book, waste their time in remarks to the effect that the book should never have been written, and so forth.

That, in fact, is the usual att.i.tude of clever reviewers when they begin.

They are so horrified to find that Mr. William Le Queux does not write like Dostoevsky and that Mrs. Florence Barclay lacks the grandeur of aeschylus that they run amok among their contemporaries with something of the furious destructiveness of Don Quixote on his adventures. It is the n.o.ble intolerance of youth; but how unreasonable it is! Suppose a portrait-painter were suddenly to take his sitter by the throat on the ground that he had no right to exist. One would say to him that that was not his business: his business is to take the man's existence for granted, and to paint him until he becomes in a new sense alive. If he is worthless, paint his worthlessness, but do not merely comment on it. There is no reason why a portrait should be flattering, but it should be a portrait. It may be a portrait in the grand matter, or a portrait in caricature: if it expresses its subject honestly and delightfully, that is all we can ask of it. A critical portrait of a book by Mr. Le Queux may be amazingly alive: a censorious comment can only be dull. Mr. Hubert Bland was at one time an almost ideal portrait-painter of commonplace novels. He obviously liked them, as the caricaturist likes the people in the street.

The novels themselves might not be readable, but Mr. Bland's reviews of them were. He could reveal their characteristics in a few strokes, which would tell you more of what you wanted to know about them than a whole dictionary of adjectives of praise and blame. One could tell at a glance whether the book had any literary value, whether it was worth turning to as a stimulant, whether it was even intelligent of its kind. One would not like to see Mr. Bland's method too slavishly adopted by reviewers: it was suitable only for portraying certain kinds of books. But it is worth recalling as the method of a man who, dealing with books that were for the most part insipid and worthless, made his reviews delightfully alive as well as admirably interpretative.

The comparison of a review to a portrait fixes attention on one essential quality of a book-review. A reviewer should never forget his responsibility to his subject. He must allow nothing to distract him from his main task of setting down the features of his book vividly and recognizably. One may say this even while admitting that the most delightful book-reviews of modern times--for the literary causeries of Anatole France may fairly be cla.s.sified as book-reviews--were the revolt of an escaped angel against the limitations of a journalistic form. But Anatole France happens to be a man of genius, and genius is a justification of any method. In the hands of a pinchbeck Anatole France, how unendurable the review conceived as a causerie would become! Anatole France observes that "all books in general, and even the most admirable, seem to me infinitely less precious for what they contain than for what he who reads puts into them." That, in a sense, is true. But no reviewer ought to believe it. His duty is to his author: whatever he "puts into him" is a subsidiary matter. "The critic," says Anatole France again, "must imbue himself thoroughly with the idea that every book has as many different aspects as it has readers, and that a poem, like a landscape, is transformed in all the eyes that see it, in all the souls that conceive it." Here he gets nearer the idea of criticism as portraiture, and practically every critic of importance has been a portrait-painter. In this respect Saint-Beuve is at one with Macaulay, Pater with Matthew Arnold, Anatole France (occasionally) with Henry James. They may portray authors rather than books, artists rather than their work, but this only means that criticism at its highest is a study of the mind of the artist as reflected in his art.

Clearly, if the reviewer can paint the portrait of an author, he is achieving something better even than the portrait of a book. But what, at all costs, he must avoid doing is to subst.i.tute for a portrait of one kind or another the rag-bag of his own moral, political or religious opinions.